* By substituting class relations for an arbitrary list of “privileges,” Voxis attempting to paint a picture of an immiserated America with no villain. It’s an America without a ruling class that directly and materially benefits from everyone else’s hard times. And this omission isn’t just incorrect — it robs us of any meaningful oppositional politics that could change it all.

* Why did it take the federal government so long to prosecute the Blackwater contractors who shot up a Baghdad square in 2007, killing and maiming scores of Iraqis? Because investigators were trying to wait out the Bush administration, which wanted to go easy on the killers, recently unearthed documents show.

* Why aren’t the seven witnesses to Dendinger’s nonexistent assault on Cassard already facing felony charges? Why are all but one of the cops who filed false reports still wearing badges and collecting paychecks? Why aren’t the attorneys who filed false reports facing disbarment? Dendinger’s prosecutors both filed false reports, then prosecuted Dendinger based on the reports they knew were false. They should be looking for new careers — after they get out of jail.

But there’s another breed of MFA program out there, proliferating constantly. These programs have nearly 100% admittance rates, fund zero percent of their students, collect outrageously high tuition, and often pay their instructors very little. And because there are so many people (rightly or wrongly) clamoring for MFAs, they have no incentive for standards, either—no incentive to reject any person, no matter how badly they write. One person’s money is as green as the next, after all. If you’ve received an undergraduate degree and can type on a computer, you’re in.

I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope. We will need writers who can remember freedom. Poets, visionaries—the realists of a larger reality.

The purpose of this conference is to organize and proliferate the material heresies that are the basis for what Matteo Pasquinelli has called “hostile intelligences” and what Fred Moten and Stefano Harney have described as “the general antagonism.” Pasquinelli writes, in “The Labour of Abstraction,” “Marx’s tendency of the rate of profit to fall has to find eventually its epistemic twin.” For him, forms of knowledge and subjectivity play a prominent role in his theory of anti-capitalist revolution. Hostile intelligence is one imaginary in which the recently formed Accelerationists conceive such an epistemic twin. Moten and Harney’s category, “the general antagonism,” is no doubt the epistemic twin of “the general intellect”, and powerfully indicates a generalized disidentification with white-supremacist, capitalist culture that is an extant part of the fugitive practices of what they eloquently call “The Undercommons.”

The repository would need some kind of physical marker that, foremost, could last 10,000 years, so the task force’s report considers the relative merits of different materials like metal, concrete, and plastic. Yet the marker would also need to repel rather than attract humans—setting it apart from Stonehenge, the Great Pyramids, or any other monument that has remained standing for thousands of years. To do that, the marker would need warnings. But how do you warn future humans whose cultures and languages will have evolved in unknown ways?

* Often they have rich back stories. A motivational mantra, a swipe at the boss, a hidden shrine to a lost love, an inside joke with ourselves, a defining emotional scar — these keepsake passwords, as I came to call them, are like tchotchkes of our inner lives.Passwords are the new poetry.

* A new analysis by PunditFact found that of every statement made by a Fox News host or guest, over half of them were flat-out false. What’s more, only a measly 8% could be considered completely “true.”

* From this vantage, the efficient society that terrorizes and comforts Codemus, and enfolds him in the straitjacket of a diffused, technologized fascism, resembles the experience of many workers today. Increasing numbers of people receive their instructions from, and report back to, software and smartphones.

* Saying the quiet part loud: Even though it might sound harsh and impolitic, here is the bottom line: if you don’t want to get shot, tased, pepper-sprayed, struck with a baton or thrown to the ground, just do what I tell you.

In addition, an American doctor has been infected. Keith Brantly, a 33-year-old working for American aid organization Samaritan’s Purse, has been treated and is in stable condition, according to USA Today.

This news comes just days after an announcement that the top Ebola doctor in Sierra Leone, Sheik Umar Khan, had been infected.

But the emotional trauma that Disney tries its damnedest to induce in young children is only the spadework for the ugly principles it feels it must implant in each new generation. Although the film takes place in an imaginary jungle, THE LION KING really expounds the Law of the Schoolyard: only the strong and the beautiful triumph, and the powerless survive only by serving the strong. As Disney sees it, children must not only acknowledge the supremacy of those born privileged and violent, the children must love them. The young must gaze in hushed veneration at the princely predators who stand ready to harvest the labor and flesh of their subjects. They must learn to giggle at the hopeless scampering of weak and stubby creatures as they dodge the jaws of their overlords. They must accept that true friendship means flattering those who would otherwise feast on their entrails.

* If you or any other speculator on my body and rights, wish to know how I regard my rights, they need but come here and lay their hands on me to enslave me. Did you think to terrify me by presenting the alternative to give my money to you, or give my body to Slavery? Then let me say to you, that I meet the proposition with unutterable scorn and contempt.

* “You express amazement at my statement that ‘civilized’ men try to justify their looting, butchering and plundering by claiming that these things are done in the interests of art, progress and culture. That this simple statement of fact should cause surprise, amazes me in return.”

* It makes a canny kind of sense, then, that a 2014 incarnation of the film that bears his name would reprise visual scenes of global environmental catastrophes and dare us to think of them in tragic terms. is a film for the anthropocene — the age when human actions have caused irreversible ecological damage. Tragedies, like feelings, happen at a human scale. But ours is a time when human actions work off the human scale, causing events in our world that require much more strenuous interventions than sympathy and tears. It’s hard to know what to feel, in the face of the catastrophe we have made, or what difference our feelings would make.